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1985年,北京人民艺术剧院在首都公演高行健编剧、林兆华导演的话剧《野人》。这出从思想内涵到表现形式都不乏探索尝试性质的戏剧,在观众中引起了不同的反响,在戏剧理论界亦可谓毁誉参半。作为一部“多声部现代史诗剧”,《野人》“本土化”的“史诗剧”艺术样式掩盖不了其“史诗性”的缺失,从而窥见高行健“完全的戏剧”理论的负面效应之一,即对戏剧文学优良传统的摈弃。。A former getaway driver from Chicago (George C. Scott) has retired to a peaceful life in a Portugese fishing village. He is asked to pull off one last job, involving driving a dangerous crook and his girl-friend to France. However, the job turns out to be a double-cross and the trio are pursued back to Portugal where they make one last stand on the coast while the enemy assassi...。不顾社会等级的差距，聪明的帕萨亚和与美丽大方的阿奇坠入爱河。社会的偏见和迂腐的传统让这对年轻人在爱情路上屡屡受挫。最终他们谱写了一部爱情史诗。那格拉吉·曼尤勒的爱情故事是对21世纪印度社会的严肃考问。。